Download Booklet

Total Page:16

File Type:pdf, Size:1020Kb

Download Booklet WIND BAND CLASSICS WILLIAM ALWYN Film Music Royal Northern College of Music Wind Orchestra Clark Rundell • Mark Heron William William Alwyn (1905-85) ALWYN Film Music arranged for Wind Band (1905-85) William Alwyn was born in Northampton and died in was the template for the later Pirates of the Caribbean. 1 The Crimson Pirate – Overture 7:59 Blythburgh. He studied at the Royal Academy of Music Alwyn’s music is presented in the form of a concert overture where, at the age of 21, he was appointed Professor of and captures both the action and romance of the picture. The History of Mr Polly – Suite 11:22 Composition, a position he held for nearly thirty years. 2 The Wedding and Funeral 2:27 Amongst his works are five symphonies, concertos for flute, The History of Mr Polly – Suite (1949) 3 Fire 2:13 oboe, violin, harp and two for piano, various descriptive 4 Christabel 2:46 orchestral pieces, four operas and much chamber, The film is based on the novel The History of Mr Polly by 5 Punting Scene 1:32 instrumental and vocal music. In addition to this Alwyn H.G. Wells. Mr Polly (Sir John Mills) is a sensitive soul. 6 Utopian Sunset 2:26 contributed nearly 200 scores for the cinema. He began his Sacked from his job for daydreaming he despairs of ever career in this medium in 1936 writing music for finding another when his father’s death suddenly brings 7 The Way Ahead – March 1:46 documentaries. In 1941 he wrote his first feature-length score him a large inheritance with which he embarks on a State Secret – Suite 7:34 for Penn of Pennsylvania. Other notable film scores include cycling adventure. On his travels he meets and falls in Desert Victory, The Way Ahead, The True Glory, Odd Man love with a young girl but the relationship turns sour. 8 Main Titles and Grand Ball 1:59 Out, The History of Mr Polly, The Fallen Idol, The Rocking Spurned, he marries his cousin Miriam and settles in a 9 Theatre Music 2:16 Horse Winner, The Crimson Pirate, The Million Pound Note, small town where he opens a draper’s shop. Fifteen years 0 On the Barge 2:09 The Winslow Boy, The Card and A Night to Remember. In later with bad debt and a floundering marriage he reaches ! Finale 1:10 recognition of his services to the medium of film he was made a crossroads where some major decisions must be made. @ The Million Pound Note – Waltz 3:08 a Fellow of the British film Academy, the only composer until He stages his ‘suicide’ by setting fire to the shop, rescues more recently to have received this honour. In 1978 he was an old lady, has a little romance with Christabel, goes Swiss Family Robinson – Suite 9:33 awarded a CBE in recognition of his services to music. punting, all before settling down as a handyman at an inn. # Main Titles 3:05 I was commissioned by the William Alwyn Foundation to All the key scenes are portrayed in the five movement $ At Home 2:46 make these arrangements in order to further the music of suite covering a miniature history of the film itself. % Ostriches and Waterslides 3:42 Alwyn to performers and audiences currently not able to enjoy these, his lighter, contributions. The key principle, after The Way Ahead – March (1944) ^ The True Glory – March 2:44 selecting the most appropriate cues, was to remain true to Geordie – Suite 10:59 the composer and not add or subtract any personal touches. Alwyn’s first score for director Carol Reed, The Way & Main Titles 1:59 All the transcriptions were made from material provided by Ahead tells the story of a band of men who are called up * The Samson Way 2:47 the Foundation and I would like to thank personally Kit for active duty in the second world war under ( Father and Son 2:39 Turnbull for being my amanuensis on this project. commanding officer Lt. Jim Perry (David Niven). At first ) Geordie and Jean 2:00 they are pretty hopeless but their rigorous training turns ¡ The Hammer Reel 1:34 The Crimson Pirate – Overture (1952) them into first-class soldiers. Alwyn’s lively march is highly memorable, appearing towards the end of the film when In Search of the Castaways – Suite 5:43 In the late eighteenth century, Captain Vallo (Burt the men make their final assault to face the enemy. ™ Ship’s Waltz 3:03 Lancaster) and his crew of pirates roam the Caribbean £ Rumba 2:40 searching for ships to plunder. This light-hearted action State Secret – Suite (1950) romp has all you would expect from a pirate film: scurvy ¢ Desert Victory – Suite 8:56 men, a big pirate ship, sword fights and a pretty damsel in Written and directed by Sidney Gilliat, State Secret is set Prologue – Reinforcements Arrive – distress (Eva Bartok). Shot on location in the Mediterranean in a Ruritanian country, Vosnia, where spies pusue the Training Sequence – March and directed by Robert Siodmak this delightfully upbeat film surgeon Dr Marlow (Douglas Fairbanks Jnr.), the only man who knows that the dictator, Niva, is dead. The charming love story is set in the highlands of Scotland and RNCM Wind Orchestra pieces presented here are the broad martial theme of the directed by Frank Launder. Geordie is a slight of frame main titles, which sets the scene, followed by other gamekeeper’s son who feels that the girl he loves is The RNCM Wind Orchestra is one of several sequences whose suggestive titles speak for themselves. ignoring him because of his size. He takes a large scale ensembles that make up the wide Eventually after several adventures the music of the correspondence course in body-building and by the age of diversity of music making at the Royal opening is heard again over the end credits. 21 becomes one of the tallest and strongest men in Northern College of Music in Manchester, one Scotland and an expert at throwing the hammer. His of the world’s leading music conservatoires. The Million Pound Note – Waltz (1953) success story leads him to represent Britain in the 1956 Bands, ensembles and orchestras from the Olympic Games in Australia. But will the new man that he college have been active for many years in Based on the story by Mark Twain, The Million Pound is be able to charm Jean, his life-long sweetheart? The five giving concerts, both within the college, at Note is set in Victorian times. Two wealthy brothers strike movement suite makes use of several well-known Scottish venues in Great Britain and on international a cruel wager by drawing up a currency note worth a melodies such as Highland Laddie and Hearken My Love. tours. These groups have also made an million pounds. One believes it would be quite useless for increasing number of commercial recordings any poor but honest man to use. The other thinks that just In Search of the Castaways – Suite (1962) for leading record companies. by possessing the note and never cashing it in, a man could live like a lord. They choose a man (Gregory Peck) In In Search of the Castaways nothing will stop feisty to find out who is right by giving him the note and Mary Grant (Hayley Mills) from travelling to the four watching his journey. Alwyn wrote a charming waltz as corners of the world to find her missing sea-captain father, the main theme with an appropriately Victorian flavour. although her only clue to his whereabouts is a message in a bottle. Directed by Robert Stevenson after the novel by Swiss Family Robinson – Suite (1960) Jules Verne, the film also starred Maurice Chevalier and was the third and last film that Alwyn scored for the Walt The screen version of the literary classic The Swiss Disney Company. Here are presented a tuneful, lilting Family Robinson is one of Disney’s biggest and most waltz and a lively rumba full of exotic percussion. fondly remembered hits. The film is full of breathtaking scenery, exotic animals and treacherous pirates. The Desert Victory – Suite (1943) various adventures of the shipwrecked Robinson family on their deserted island are captured in Alwyn’s three Produced by the British Army Film Unit Desert Victory movement suite. shows Montgomery’s army pursuing the Axis forces through Tripoli during the Libyan Campaign. The suite The True Glory – March (1944-45) runs as a continuous piece but is broken up into sections taken from various parts of the film, book-cased by music The True Glory was a documentary production showing in march form. the campaign in Europe from D-Day to the fall of Berlin and directed by Carol Reed. The march has been Martin Ellerby and Andrew Knowles constructed from fragments heard in the film but never as a complete whole. Martin Ellerby studied with Joseph Horovitz at the Royal College of Music and later privately with Wilfred Josephs. Geordie – Suite (1955) He has written five symphonies and twelve concertos as well as music for brass and concert bands, chamber and In Geordie tall and handsome Bill Travers plays opposite choral combinations together with much educational music. Photo: Paul Cliff Norah Gorsen (Jean) and Alastair Sim (the Laird). This William Clark Rundell ALWYN (1905-85) Photo: Paul Cliff Clark Rundell is currently Director of Contemporary Music at the Royal Northern College of Music in Manchester. He studied at Northwestern University, Chicago, studying conducting with John Paynter and trombone Film Music with Frank Crisafulli of the Chicago Symphony Orchestra.
Recommended publications
  • The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
    The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
    [Show full text]
  • WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
    WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1.
    [Show full text]
  • Andrew Martin Is an Author, Journalist and Broadcaster. His Previous Books with Profile Are Underground, Overground and Belles and Whistles
    ANDREW MARTIN is an author, journalist and broadcaster. His previous books with Profile are Underground, Overground and Belles and Whistles. He has written for the Guardian, Evening Standard, Independent on Sunday, Daily Telegraph and New Statesman, amongst many others. His ‘Jim Stringer’ series of novels based around railways is published by Faber. His latest novel, Soot, is set in late eighteenth-century York. Praise for Night Trains ‘You do not have to be a trainspotter to enjoy this book. It is social history, a kind of epitaph to a way of travel that seems to be lost, at least in Europe.’ Spectator ‘A delightful book … charmingly combines Martin’s own travels, as he recreates journeys on famous trains such as the Orient Express, with a serious, occasionally geeky, history of those elegant wagons lits of the past … Even if you’re not into the detail of rail gauges, this book is the perfect companion as you wait for the 8.10 from Hove.’ Observer ‘Excellent … Mr Martin paints a vivid picture of this world on rails … he proves a witty companion who wears his knowledge lightly’ Country Life ‘Andrew Martin has cornered the train market. He is the Bard of the Buffer, the Balladeer of the Blue Train, the Laureate of Lost Property … I picked up Night Trains knowing that I would be entertained, but also in the hope that his many years of experience would teach me how to sleep on a sleeper … Andrew Martin is the best sort of travel writer: inquisitive, knowledgeable, lively, congenial. He is also very funny, while never letting the humour drive reality, rather than vice versa.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • The North of England in British Wartime Film, 1941 to 1946. Alan
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production.
    [Show full text]
  • MARJORIE BEEBE—Ian
    #10 silent comedy, slapstick, music hall. CONTENTS 3 DVD news 4Lost STAN LAUREL footage resurfaces 5 Comedy classes with Britain’s greatest screen co- median, WILL HAY 15 Sennett’s comedienne MARJORIE BEEBE—Ian 19 Did STAN LAUREL & LUPINO LANE almost form a team? 20 Revelations and rarities : LAUREL & HARDY, RAYMOND GRIFFITH, WALTER FORDE & more make appearances at Kennington Bioscope’s SILENT LAUGHTER SATURDAY 25The final part of our examination of CHARLEY CHASE’s career with a look at his films from 1934-40 31 SCREENING NOTES/DVD reviews: Exploring British Comedies of the 1930s . MORE ‘ACCIDENTALLY CRITERION PRESERVED’ GEMS COLLECTION MAKES UK DEBUT Ben Model’s Undercrank productions continues to be a wonderful source of rare silent comedies. Ben has two new DVDs, one out now and another due WITH HAROLD for Autumn release. ‘FOUND AT MOSTLY LOST’, presents a selection of pre- LLOYD viously lost films identified at the ‘Mostly Lost’ event at the Library of Con- gress. Amongst the most interesting are Snub Pollard’s ‘15 MINUTES’ , The celebrated Criterion Collec- George Ovey in ‘JERRY’S PERFECT DAY’, Jimmie Adams in ‘GRIEF’, Monty tion BluRays have begun being Banks in ‘IN AND OUT’ and Hank Mann in ‘THE NICKEL SNATCHER’/ ‘FOUND released in the UK, starting AT MOSTLY LOST is available now; more information is at with Harold Lloyd’s ‘SPEEDY’. www.undercrankproductions.com Extra features include a com- mentary, plus documentaries The 4th volume of the ‘ACCIDENTALLY PRESERVED’ series, showcasing on Lloyd’s making of the film ‘orphaned’ films, many of which only survive in a single print, is due soon.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 09/28/2021 04:33:06PM Via Free Access
    Film and the Festival of Britain sarah easen T F Britain, from 3 May to 30 September 1951, aimed to provide respite from the effects of World War II by celebrating the nation’s past achievements in the arts, industry and science, as well as looking hopefully to a future of progress and prosperity. It marked the halfway point of the century, a natural moment at which to take stock and examine advances in British society. The Director General of the Festival, Gerald Barry, promised ‘a year of fun, fantasy and colour’, an interlude of ‘fun and games’ after the long run of wartime austerity.1 Film was integral to the Festival of Britain. It related to the Festival’s three main areas of concern, the arts, industry and science. Britain’s role in international film culture had already been established by the growth of the British documentary movement since the 1930s. The Festival of Britain therefore seemed a natural place to demonstrate the fruits of British film production. The Festival of Britain site in London on the South Bank featured a purpose-built film theatre, the Telekinema, for big-screen public television broadcasts and the showing of specially commissioned Festival films.2 The Television Pavilion also displayed a brief history of the new medium. Cinemas around the nation featured seasons of classic British film- making. The exhibitions themselves also used film as a tool for expressing concepts and processes that could not easily be displayed. So film was not only a medium for the exposition of ideas within the Festival of Britain exhibitions, it also contributed to the entertainment on offer.
    [Show full text]
  • Fred Tomlin (Boom Operator) 1908 - ? by Admin — Last Modified Jul 27, 2008 02:45 PM
    Fred Tomlin (boom operator) 1908 - ? by admin — last modified Jul 27, 2008 02:45 PM BIOGRAPHY: Fred Tomlin was born in 1908 in Hoxton, London, just around the corner from what became the Gainsborough Film Studios (Islington) in Poole Street. He first visited the studio as a child during the filming of Woman to Woman (1923). He entered the film industry as an electrician, working in a variety of studios including Wembley, Cricklewood and Islington. At Shepherd’s Bush studio he got his first experience as a boom operator, on I Was A Spy (1933). Tomlin claims that from that point until his retirement he was never out of work, but also that he was never under permanent contract to any studio, working instead on a freelance basis. During the 1930s he worked largely for Gaumont and Gainsborough on films such as The Constant Nymph (1933), Jew Suss (1934), My Old Dutch (1934), and on the Will Hay comedies, including Oh, Mr Porter (1937) and Windbag the Sailor (1936). During the war, Tomlin served in the army, and on his return continued to work as a boom operator on films and television (often alongside Leslie Hammond) until the mid 1970s. His credits include several films for Joseph Losey (on Boom (1968) and Secret Ceremony (1968)) and The Sea Gull (1968)for Sidney Lumet, as well as TV series such as Robin Hood and The Buccaneers and a documentary made in Cuba for Granada TV. SUMMARY: In this interview from 1990, Tomlin talks to Bob Allen about his career, concentrating mainly on the pre-war period.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • HP0009 Oswald (Ossie) Morris
    Timecode 01:33:14:23 to 02:20:13:09 Interviwer Ozzie Morris side three of them. Now Cine Guild is a name to be conjured with and try and tell us about your. Tell us about the first part of your Cine Guild experience. OSSIE MORRIS Let me just explain Cine Guild was part of what we called independent producers there was the archer's which was the mickey powell Emeric Pressburger group there was Cine Guild which was the Noel Coward . David Lean Ronnie Neame Tony Havelock Ellis group and there was one other and I can't think of it which was Frank independent though Frank Launder in the individual individual pictures I think they were the other ones and then later Ian Dow or import joined but I mean at that time it was the three I was contracted Chris Challis and I believe I've been corrected Chris was in the Air Force not the Navy I thought it was there I thought he was the Navy. SPEAKER: M5 And the three of us were contracted to operate for these companies. I work for Cine Guild and Chris work for the Archers and. Ernie was sort of a flow between both of us. We are the first picture open studios after the war. Pinewood Studios the actual studios store it should go in one of the stages I think and they stored also these deadly Albermarles on their noses. In one of the stage without the wings because of wooden round the outside if it wasn't kept a constant term through autumn and fell apart and I could understand why and I believe they were stored on their noses there in the main offices of wired or were away from the main studio and I think the Prudential of one of the insurance companies have the offices.
    [Show full text]
  • Celluloid Television Culture the Specificity of Film on Television: The
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses .
    [Show full text]
  • Cd Discography
    THE WILLIAM ALWYN FO UNDATION WILLIAM ALWYN CD DISCOGRAPHY Andrew Peter Knowles [A listing of Alwyn works currently available on compact disc] WILLIAM ALWYN CD DISCOGRAPHY The following list of recorded works by William Alwyn is arranged alphabetically by record company and includes only those discs that are to my knowledge currently available. All deletions have been excluded from the listing. Record companies that have released only one CD of a work(s) are listed at the end of the main section under the heading of Miscellaneous. All of these discs may be purchased on line through the following sites: www.amazon.co.uk , www.amazon.com , www.mdt.co.uk , and some directly through the record companies themselves. I have indicated the respective website addresses of these companies that offer this service after the record company name below. Alternatively, you can purchase through your local record shop. ASV - WHITELINE Suite of Scottish Dances (Brian Kay’s British Light Music Discoveries) Royal Ballet Sinfonia/Gavin Sutherland (CDWHL-2113) Also on British Light Music World Premieres (CDWHL-2116) Overture: The Moor of Venice – Orchestral version (British Light Overtures 2) Royal Ballet Sinfonia/Gavin Sutherland (CDWHL-2137) CHANDOS (www.chandos.net ) Piano Concertos 1 & 2 Overture to a Masque Elizabethan Dances Howard Shelley-Piano/LSO/Richard Hickox (CHAN 9935) [2] Symphony No. 1 Piano Concerto No. 1 Howard Shelley-Piano/LSO/Richard Hickox (CHAN 9155) Symphony No. 2 Overture to a Masque Symphonic Prelude: The Magic Island Overture Derby Day Fanfare for a Joyful Occasion LSO/Richard Hickox (CHAN 9093) Symphony No.
    [Show full text]